Perseus and Andromeda, (Wallace Collection, London), 1554-1556

Perseus and Andromeda, Wallace Collection, London

Third of the Poisie, the subject is based on a passage in Ovid’s Metamorphoses in which the poet describes the rescue of the princess of Ethiopia, Andromeda, by the hero, Perseus, flying on his winged helmet and sandals.  This is the lovers’ dramatic first encounter and without knowing anything about Andromeda, the hero must destroy the sea monster to rescue his future wife.

Titian portrays the moment when the energetic Perseus (son of Danae by Jupiter), starts to fly down from the sky to battle the sea monster.  The painting follows Ovid’s description in its general action; however, it departs from the text in a number of details.   Although Ovid states that Andromeda’s arms are chained behind her back, Titian shows the arms raised by their restraints, giving Andromeda a somewhat buoyant appearance.   While, Ovid text describes the coral first appearing after the death of the sea monster and the release of the princess, Titian shows the coral curling at Andromeda’s feet.  Finally, the oddly towered landscape in the background has not origins in Ovid’s myth.

Perseus and Andromeda, Cellini's Bronze Bas-Relief

Nude, frontal, and enchained, Andromeda’s vulnerability is both physical and psychological.  Her head is turned in profile to witness Perseus descending inward brandishing a sword with the intent to slay the ferocious and decorative sea monster. Despite Andromeda desperate situation, her pose is graceful with an uninterrupted arch from shoulder to foot, which reveals Michelangelo’s influence.  Additionally, Andromeda is far more slender than the other women in the Poisie.  It has been suggested that these qualities may reflect the influence of Cellini’s bronze bas-relief, Perseus in Loggia dei Lanzi, which Titian could have seen during his only visit to Florence in 1546.  Cellini’s flying Perseus, although facing in the opposite direction, is similar to Titian’s in the arrangement of the legs.  Even more, the huge beaky heads of the sea monsters are alike.  The ultimate interest in the comparison between the two compositions is the placement of Andromeda.  With the exception of the bystanders who occupy the right half of Cellini’s composition, Andromeda was reposition from the center to the right, whereas Titian eventually placed her on the left.

Much of Titian’s technique and thinking was done on the canvas as revealed in the restoration and x-rays of Perseus and Andromeda.  Like the other Poesie, this one was also painted on a thin white gesso ground.  Titian made outline drawings on the gesso and then built up the composition in numerous layers of pigment, opaque or semi-opaque and translucent glazes.  For Andromeda, Titian’s technique was changed using a thick, almost totally white layering over the outlines and applying pale gesso to indicate shadows.  This technique required long periods of time to allow the paint to dry completely before the next layer could be applied, probably two and a half years.  Additionally, x-rays confirms a radical alteration to the original composition in which Andromeda stood at right with Perseus dropped from the air to battle the sea dragon at center and the painting’s tonality was lighter, more rosy; however, it quickly gave away to a darkly, dramatic new concept.

Perseus, Cellini's Bronze Sculpture

All things considered, classical, medieval and Renaissance writers were unanimous in their praise of Perseus, whom they viewed as a model hero whose daring endeavor could serve as metaphor in the conquest of virtue over vice.